‘여류’ 앤솔로지의 다시쓰기, 그 이중의 검열회로 『女流短篇傑作集』(1939) 연구 (Rewriting in a Women Writers’ Anthology, its Double Censorship Circuits a study on Masterpieces Collection of Women Writers’ Short Stories(1939))

서지정보

· 발행기관 : 부산대학교 인문학연구소
· 수록지 정보 : 코기토 / 81권 / 160 ~ 201페이지
· 저자명 : 손성준

초록

『女流短篇傑作集』(조선일보사 출판부, 1939)은 단행본의 형태로는 한국에서 처음 나온 여성작가 단편소설집이지만 본격적인 연구가 진행된 바없었다. 이 글은 『女流短篇傑作集』의 출판 경위, 구성, 내적 기조 등을 고찰하고, 최초 발표 지면과의 텍스트 비교를 통해 다시쓰기 양상을 집중 분석하였다. 『女流短篇傑作集』은 식민지시기 문학의 각종 선집을 통틀어서도 가장 잔혹하고 어두운 서사들의 집합이었다. 『女流短篇傑作集』의이 같은 성격은 여성작가들에게 ‘여류다운’ 면모를 요구하던, 혹은 그들이‘작가다운’ 작품을 쓸 수 없으리라 폄훼하던 남성중심적 문단의 시선을 정면으로 반박하는 것이었다. 한편 이러한 『女流短篇傑作集』의 비참한 현실 묘사는 그 자체로 식민지 검열과 불화할 잠재성을 안고 있는 것이었다.
결국 『女流短篇傑作集』은 내부(주류 남성 작가)와 외부(식민지 검열체제)에대한 동시적 저항의 글쓰기였다. 이에 대한 의식 속에서 작가들은 비극적정서의 강화와 완성도의 제고라는 방향의 자기 검열적 다시쓰기를 수행하였고, 원고 검열로 인한 텍스트의 훼손에도 불구하고 1939년도를 즈음한 ‘합법적’ 문학이 표현할 수 있는 ‘불온성’의 최대치에 가까운 결과물을 남길 수 있었다.

영어초록

The Masterpieces Collection of Women Writers’ Short Stories(Chosun Ilbo Press, 1939) is the first one published in a separate book among collections of Korean women writers’ short stories; however, there has been no serious study about it until now. This paper investigated the publication circumstances, composition, and internal keynote of the Masterpieces Collection of Women Writers’ Short Stories, and focused analysis on the aspect of its rewriting by comparing its short stories with the original texts of their initial release. The Masterpieces Collection of Women Writers’ Short Stories was a collection of the cruelest and darkest narratives among all literary anthologies during the colonial period. The intended character of the Masterpieces Collection of Women Writers’ Short Stories was to confront head-on the perspective of the male-centered literary circle that demanded ‘womanly’ aspects from women writers or disparaged women writers’ ability to write works ‘worthy of a writer.’ On the other hand, the description of miserable reality itself in the Masterpieces Collection of Women Writers’ Short Stories had the potential for causing disharmony with the colonial censorship. After all, the Masterpieces Collection of Women Writers’ Short Stories was the writing of resistance to both the inside (the mainstream male writers) and the outside (the colonial censorship system). With being conscious of this, the writers engaged in self-censoring rewriting in a direction towards the strengthening of tragic sentiments and the enhancement of work completeness, and were able to leave results that were near the maximum of ‘rebelliousness’ allowed to be expressed with ‘legal’ literature in around 1939 despite damage to the texts inflicted by the manuscript censorship.

참고자료

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